Description: Founded in 1920 by A H Fox Strangways, Music and Letters is long established as the leading British journal of musical scholarship. Its coverage embraces all fields of musical enquiry, from the earliest times to the present day, and its authorship is international.

The "moving wall" represents the time period between the last issue
available in JSTOR and the most recently published issue of a journal.
Moving walls are generally represented in years. In rare instances, a
publisher has elected to have a "zero" moving wall, so their current
issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year
moving wall, articles from the year 2002 are available.

Terms Related to the Moving Wall

Fixed walls: Journals with no new volumes being added to the archive.

Absorbed: Journals that are combined with another title.

Complete: Journals that are no longer published or that have been
combined with another title.

Abstract

In a recent article published in Early Music Performer, Clare Brown and Peter Holman drew attention to a set of plates, entitled 'FAC SIMILES OF CELEBRATED COMPOSERS', printed in Thomas Busby's Concert Room and Orchestra Anecdotes of 1825. The plates seem to be lithographic reproductions of tracings from composers' manuscripts, and include a short extract from Purcell's 1694 ode, Come ye sons of art, apparently copied from an autograph that is no longer extant. Fascinatingly, the scoring of this fragmentary passage differs from the corresponding section in the only surviving complete source of the ode, a manuscript copied in 1765 by one Robert Pindar. The discrepancy appears to confirm Bruce Wood's suspicions, noted in his 1998 edition of the ode, that Pindar made a number of 'improvements' to his copy of Come ye sons of art. We know, indeed, that Pindar tampered with the other three Purcell odes he entered in the same manuscript-Welcome to all the Pleasures, the Yorkshire Feast Song, and Hail! Bright Cecilia-since these survive elsewhere in reliable sources; surprisingly, however, his adaptations have never been investigated thoroughly. In this article detailed analysis of Pindar's reworkings to the scoring, structure, part-writing, and other characteristics of these three odes is used alongside the evidence of Busby's fragment in order to identify the alterations Pindar is likely to have made to Come ye sons of art, culminating in an attempt to reconstruct a version of the ode closer to Purcell's own conception of the piece.